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Warp Weighted Looms: Then and Now

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Warp Weighted Looms: Then and Now Warp Weighted Looms: Then and Now Anglo-Saxon and Viking Archaeological Evidence and Modern Practitioners A thesis submitted to the University of Manchester for the degree of Master of Philosophy in the Faculty of Humanities 2014 Christina Petty School of Arts, Languages and Cultures Table of Contents List of Figures p. 4 Abstract p. 6 Declaration p. 7 Copyright Statement p. 8 Dedication p. 9 1. Introduction p. 10 2. The Warp Weighted Loom: The Evidence p. 16 2.1. The Wood of the Loom: the Frame, Heddle Bars, Heddle Pegs, Cloth Beam and Spokes p. 18 2.2. Warp Weights p. 38 2.3. Weaving Tablets p. 54 2.4. Butterflies and Shuttles p. 60 2.5. ‘Pin Beaters’ p. 68 2.6. Combs p. 91 2.7. Sword beaters p. 94 3. Approaches p. 101 4. Re-enactors, Living Historians, and Historical Interpreters p. 111 4.1 Living History Societies with an Early Medieval Focus p. 118 5. Questionnaire Analysis p. 127 6. Conclusion p. 157 Appendix 1: Questionnaire Responses: Multiple Choice p. 162 Appendix 2: Marginalia from Multiple Choice Section p. 182 Appendix 3: Questionnaire Responses: Short Answer p. 192 Glossary of Terms p. 243 Bibliography p. 246 2 Word Count, Main Body of Text: 44,668 3 List of Figures Fig. 1 Diagram of warp weighted loom p. 15 Fig. 2 Loom weights and possible loom upright from Dover p. 19 Fig. 3 Possible loom upright from Gloucester p. 20 Fig. 4 Section of loom upright from Gården under Sandet p. 21 Fig. 5 Shed rod with wear marks from Gården under Sandet p. 23 Fig. 6 Chuisi and Boetian urns showing multiple heddle bars p. 25 Fig. 7 Warp weighted looms from Naquane Rock 1 p. 29 Fig. 8 The Hallstatt urn, an Etruscan pendant, and a wooden throne from Tomba del Trono p. 30 Fig. 9 Grave marker from Nallihan, Anatolia p. 31 Fig. 10 Spanish grave marker p. 32 Fig. 11 Funerary monument from Baugy, France p. 33 Fig. 12 Kirriemur Sculpted Stone p. 34 Fig. 13 Pattern Book, Reiner Musterbuch (ÖNB 507, fol. 2r) p. 35 Fig. 14 Original Hólm drawing of a warp weighted loom p. 36 Fig. 15 Woodcut variation of Hólm loom p. 37 Fig. 16 Worsaae loom drawing and photo of original Faroese loom p. 38 Fig. 17 Three Anglo-Saxon era loom weights p. 43 Fig. 18 Loom weights from Suffolk and Dover p. 48 Fig. 19 Drawing of SFB 15 at West Stow p. 50 Fig. 20 Warp weighted loom photographed by Frederick W. W. Howell p. 55 Fig. 21 Weaving tablets p. 56 Fig. 22 Tablet weaving from Etruscan pendant p. 58 Fig. 23 Oseberg weaving tablets p. 59 4 Fig. 24 Warp weighted loom drawing by Alfred Barlow p. 63 Fig. 25 Weft wrapped sticks on the grave marker from Nahilan p. 65 Fig. 26 A leykthos from the Metropolitan Museum of Art, New York p. 66 Fig. 27 Close up detail of the hræll from the Hólm drawing p. 67 Fig. 28 Examples of current ‘pin beater’ classification p. 70 Fig. 29 Grace M. Crowfoot drawing of a warp weighted loom p. 71 Fig. 30 Greek lekythos, Metropolitan Museum of Art, New York p. 72 Fig. 31 A modern gazelle horn weaving hook p. 73 Fig. 32 Use of ‘pin beater’ as understood through Crowfoot p. 74 Fig. 33 Close up of ‘pin beaters’ from Faroese loom p. 76 Fig. 34 Close up of ‘pin beaters’ on grave markers from Spain, Turkey and France p. 84 Fig. 35 Two double-ended bone tools from the Ipswitch collection p. 88 Fig. 36 Wear pattern developed on a bone weaving comb p. 89 Fig. 37 Anglo-Saxon combs p. 91 Fig. 38 Close up of grave marker from Nahilan showing combs p. 93 Fig. 39 Close ups of the weaving swords from the Hólm and Worsaae looms p. 94 Fig. 40 Engraved bone weaving sword p. 97 Fig. 41 Close up of the hræll and reproduction bone sword p. 98 Fig. 42 Weft beater from Egon H. Hansen’s Opstadvæv før og nu p. 98 Fig. 43 Weaving sword with wear patterns from Gården under Sandet p. 100 Fig. 44 Warp weighted loom constructed out of found materials p. 156 5 Abstract This thesis examines the warp weighted loom during the Anglo-Saxon and Viking eras in England through archaeological, linguistic, and art evidence, supported by similar information about the loom from Northern Continental Europe. Some evidence from other parts of the world where this specific type of loom was used is also included for clarity. In order to further understanding of the possible functioning and abilities of the loom, modern individuals with experience weaving with this early medieval technology were sought out to answer a questionnaire. The analysis of data gathered is supported with evidence from interviews of some of the respondents. The weavers who answered the questionnaire were primarily associated with the living history or re-enactment movements; therefore a history of these movements and their goals is also included. An analysis of the responses to the questionnaire, including thoughts about how these answers might advance academic understanding of the loom, completes the thesis. 6 Declaration No portion of the work referred to in the thesis has been submitted in support of an application for another degree or qualification of this or any other university or other institute of learning. 7 Copyright Statement The author of this thesis (including any appendices and/or schedules to this thesis) owns certain copyright or related rights in it (the “Copyright”) and s/he has given The University of Manchester certain rights to use such Copyright, including for administrative purposes. Copies of this thesis, either in full or in extracts and whether in hard or electronic copy, may be made only in accordance with the Copyright, Designs and Patent Act 1988 (as amended) and regulations issued under it or, where appropriate, in accordance with licensing agreements in which the University has from time to time. This page must form part of any such copies made. The ownership of certain Copyright, patents, designs, trademarks and other intellectual property (the “Intellectual Property”) and any reproductions of copyright works in the thesis, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property and Reproductions cannot and must not be made available for use without the prior and written permission of the owner(s) of the relevant Intellectual Property and/or Reproductions. Further information on the conditions under which disclosure, publication and commercialization of this thesis, the Copyright and any Intellectual Property and/or Reproductions described in it may take the place is available in the University IP Policy (see http://documents.manchester.ac.uk/DocuInfo.aspx?DocID=487), in any relevant Thesis restriction declarations deposited in the University Library, The University Library’s regulations (see http://www.manchester.ac.uk/library/aboutus/regulations) and in The University’s policy on Presentation of Theses. 8 Dedication For Dr Stephen Law and Dr Theresa Vaughan, for a particularly memorable conversation on my birthday in 2000. You started it. For my friends on the Ravelry board Friends of Abby’s Yarns, who know that the answers to most fibre craft questions are: It Depends, Sample, and Four Pounds. Most of all for my beloved husband, who did without his wife for far too long. Thank you all. 9 1. Introduction In 1964, the first monograph about an ancient weaving technology, the warp weighted loom, was published. This unparalleled work by Norwegian researcher Marta Hoffmann, instigated by her curiosity about exhibits in the local museum, examined the work of six weavers in western Norway for whom the use of the loom had not been completely lost. She augmented her ethnography with extensive work examining archaeology, linguistics, folklore, and art relating to the loom.1 Since the time of that publication, many advances have been made in the areas of archaeology, art history, information gathering and dissemination, and linguistics. There has also been renewed interest in understanding the past through hands-on practice, creating fields of study such as experimental archaeology and living history. Textile history is another area of academic study that has flowered comparatively recently. Even with all these advances, there has yet to be another study of Northern European warp weighted looms with the breadth and scope of Hoffmann’s monograph. That being said, there are limitations to any work. In her exploration of the warp weighted loom, Hoffmann searched for weavers who still knew how use that particular weaving tool. After years of searching, she was only able to locate three sets of women, working in pairs, who lived along the western shores of Norway.2 These women had not practiced their craft since before the advent of World War II, some fifteen years previous to the time when their work was observed and 1 Marta Hoffmann, The Warp-Weighted Loom: Studies in the History and Technology of an Ancient Implement (Oslo: Universitetsforlaget, 1964). Her study of warp weighted loom weavers was conducted in the 1950s; her book was first published in Norwegian in 1964, then translated into English that same year. 2 Hoffmann, Warp-Weighted Loom, pp. 1, 2, 39. See also map before page one. 10 documented in the 1950s.3 The Lappish set of weavers ‘seemed clumsy and awkward’, likely due partly to lack of practice, and partly because weaving with the loom was a relatively recent skill acquisition for their people.4 It should also be noted that all of these women wove thick traditional cloth in either an over/under tabby weave or tapestry weave, or with a single heddle bar, the simplest pattern found in weaving, not in the more complex weave patterns known from archaeological finds from Anglo-Saxon and Viking era England.5 In England, the loom is thought to have started being replaced by other weaving technologies, beginning in large trading cities such as York, during the tenth century AD.6 To confine the research to manageable amounts of data within the time frame allowed for this thesis, the decision was made to limit the geographical scope of the thesis to England proper and the time frame to the years 450-1100 AD, a convenient frame for the Anglo-Saxon and Anglo-Viking cultures.
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